“Painting, for me? The desire to create a space in front of which I can stay until the end of the world.”
Plenitude and mystery, in these unqualified places, compete for the space of the canvases, a space that the artist does not occupy all over, often left blank, under the kind of ample reserves. The result, which tends towards Miro, Morandi, Calder, Paul Klee, the Picasso of La joie de vivre (1947), Yves Tanguy, catches the eye and rests it, in the same dynamic and posed movement. Some rare portraits emerge in this little humanized set. They are not exactlly definable, and rath- er archetypical. Let us note, between these, that of a green frog or the colorful silhouette of a woman treated in Sonia Delaunay style.
When she paints, Aurélie Gravas proceeds not with great final gestures but, on the contrary, by the accumulation of gestures different from each other, singularized. This artist, always, cerebralizes her words and her gesture. She only undertook her paintings with caution, and by her own admission, after a long period of reflection. First moment: Aurélie Gravas arranges on the canvas, before sticking them, some pre-cut shapes in paper, a technique used in his time by the last Matisse with his Gouaches. These cut shapes, which may have been painted separately, are then accompanied by lines made this time directly on the canvas, in a non-homogeneous way. Some of these lines are spray-painted but others are in oil, others are drawn in charcoal. Fragmentation of the executed gestures, division of the various elements coming to combine in the canvas: this factory is assimilated to a groping creation, to a construction coming from the arrangement if not from the game of patience. Just as one would open a path or, as the wording Tipees calls it, as one would build a house but a non-prefabricated house, brick to brick, without any assembly plan.
Aurélie Gravas uses art as a strategy for life and survival. To create, in his specific case – without the slightest desire to demonstrate something, or to teach – is to build a place of protection, a haven against everything that threatens life. The studio, a cloistered environment and apart from the world that she greatly appreciates, where she spends long days, sometimes just contemplat- ing her paintings, is a shelter. The bunker of protected, preserved individuality.
Back to local, the valuation of know-how, of craftmanship, of handmade and quality products… “Crafterisation” is a return to authentic materials and to the values of artisanship.
Caroline Notté advocates simplicity and authenticity. In her studio, built by Louis Herman de Koninck, she wishes to highlight a selection of artists yet again dedicate time to hand-made work (slow design). She brings forward the simplicity of forms and the beauty of materials shaped by the hand of the artist.
Towards more responsible design!
Xavier le Normand, French glass artist, transforms glass into masterpieces that lead you into a world of imagination and nature, inspired by his many travels. Constantly evolving in his techniques, he plays with the immediacy and movement ofincandescent glass, then revisits the whole surface of his sculptures – when cold – through engraving, cutting and textures.The translucency of the glass is often partially hidden from view, giving the material a deep opacity that invites the hand to touch.
COURTESY OF LKFF
Back to ROOTS! Lucien Petit, works in another art of fire: ceramics. He creates his material according to his whims by mixing numerous different clays of local and foreign origins as well as additional minerals. He is interested in the binary oppositions between fullness and emptiness, of form and counter-form, of convex and concave, of mineral and organic…
COURTESY OF MODERN SHAPES
Krjst studio takes an intimate awareness of timeboth as the place of changeand making dialogue between laborious work of weaving and the moment of the gesture. The binary relationship between the jacquard and the processor is already evocative in itself. such an oscillation between the pastand the futurebetween craftsmanshipand technology, reflecting the importance of keeping our rootsand yet living with the times.
Brazil may be known for many things, from its genre-spanning musical universe to its mind-boggling nature, but its designers may be the next thing to catch your eye. Brazil’s unique furniture design has been turning heads since the 1960s, and continues to be recognized for its hallmarks and signatures.
SELECTION OF FURNITURE
The 20th-century designer of Brazil created an opulent, tropical alternative to the cool linear stylings of Breuer, Eames, Jacobsen and Le Corbusier, featuring sensuous curves, richly coloured indigenous hardwoods and the luxurious leather and cane used in local craft. Works by Brazil’s midcentury greats, such as Oscar Niemeyer, Sergio Rodrigues, Joaquim Tenreiro and Lina Bo Bardi, have long been pursued by museum curators and specialist collectors.
The Brazilian design quest was for “authentic modernism,” combining lustrous indigenous materials and traditional local craftsmanship with European references and Bauhaus geometries to form an aesthetic all its own. The idea got a boost from two early visits by the Swiss-French midcentury modern architect Le Corbusier.
European immigrants adapted the aesthetic of the old world and used mellifluously named woods such as jacaranda, imbue, cabreuva and roxinho to construct distinct pieces that alluded to the rain forests, gauchos and fishermen of their new home.
Joaquim Tenreiro, a pioneer of furniture design in the mid 20th century, highlighted lightness as “a principal to which I felt modern Brazilian furniture should adhere … lightness which has nothing to do with weight per se, but with grace and functionality in space.” Sensuous curves, tropical woods, woven leathers and traditional techniques like caning and netting were all part of a style that developed in Brazil from the 1940s to the 1970s.
But because the pieces were not made in large numbers and were generally made to order for private homes, not corporate settings, they weren’t readily available or visible outside Brazil. Today, with authorised reissues of the most admired originals and the emergence of a new generation of artist-designers, they seem to have gained new relevance.
The trends in office Design in the past years have shifted to reflect an open concept.
While open office layouts have their benefits, there is still lack of intimacy, source distraction and environmental noise pollution. Recently the needs have changed significantly and the goal is to improve productivity adding a balanced human touch.
Nowadays the world is changing and we need to rethink the way we work by promoting teleworking.
The biggest difference between working from home and working in the office is that you are in charge of your environment. A well-designed office can increase your energy and make you more engaged with your work.
Have a dedicated space and make it comfortable choosing combination of materials, textures, patterns, and colors.
Choose a chair you can sit in for eight hours a day. Find an area with good natural lighting if at all possible. Choose your colors, while blue is good if you’re in a creative field and green walls might spark innovation. Gray, yellow, and white seem to have less positive effects on worker performance.
Place objects in your line of sight, one of your favorite paintings, a vase full of fresh flowers, a corkboard displaying your favorite family photo, or anything else that will provide an aesthetically positive break from screen time. Add plants to your home office that help to sterile your work space.
Depuis le début du confinement, un Belge sur deux fait du télétravail. Il n’est parfois pas simple de travailler depuis chez soi. Caroline Notté, architecte bruxelloise, prodigue quelques conseils pour travailler efficacement chez soi.
Cela tient notamment aux matériaux utilisés, à la luminosité, mais aussi à la hauteur du mobilier et aux couleurs appliquées sur les murs.
■ Reportage de Philippe Jacquemotte et Marjorie Fellinger, avec Raphaël Sossa
Did you know that decoration can help improve your productivity at work and reduce your stress and? It does not matter if you work in an office or from your home. We give you some tips to decorate your workplace, which will help improve your mood and confront your day to day with a more positive attitude.
Having a well decorated and cheerful corner can help us to face the workday in a different way, with a more positive attitude and a better performance.
This not only applies to those who go to the office every day, but also to those who work from home (teleworking is becoming more popular and companies use it more). In these cases, the decoration and the creation of a personal and relaxing space is even more important, because you have to know how to separate work from leisure in your own house.
Organize your desk . For instance, use a door as a desk top…
Reduce noise and improve acoustic by placing rugs, pieces of fabrics, rubber mats. For example, create a tent roof with a bed sheet and a screen with plants or books.
Enlarge your space with mirrors, large paintings, pictures making a room look bigger
Think of hacking the objects from their function. E.G. use a clothesline to hold pictures, toys or souvenirs.
Create storage upcycling cardboards boxes. E.G. use a plate drying rack to organize your paper work.
If possible plan your meetings and conference calls in another place. Moving is good and helps to change the decor
To help your focus it is better to use natural materials and neutral colors
If the weather permits set your office outside
10 conseils de Caroline Notté pour créer son bureau à la maison
Dans l’urgence et avec créativité, Caroline Notté, architecte d’intérieur, nous aide à créer notre bulle de travail au coeur de notre chez nous.
“Les gens se retrouvent confinés chez eux et n’ont pas toujours un bureau à disposition à la maison. Face à un environnement peu propice au travail où enfants et conjoint n’aident pas à la concentration, je souhaite aider les gens à créer leur “bubble d’office” depuis leur maison mais aussi pour les personnes coincées sur un bateau ou à l’autre bout du monde” confie Caroline Notté. “Même avant le confinement, nous tendions de plus en plus vers des coworkings plus humains, des bureaux finalement comme à la maison.”
Coronavirus oblige, certains belges découvrent le télétravail en même temps que le confinement. Réussir à se constituer un cadre de travail est parfois un vrai défi. Couleurs neutres, lumière naturelle, siège cosy, rituels réconfortants ou horaires adaptés peuvent aider à se mettre en condition et apprivoiser son espace.
« De nombreuses personnes, moi la première, n’ont pas l’habitude de se retrouver devant un ordinateur toute la journée. La priorité est de se créer une bulle, un cocon où on se sent bien. Le choix l’endroit où travailler peut se faire en fonction des sources de lumières. On peut aussi, bien sûr, utiliser une belle lampe. Avoir une source de feu et de chaleur est essentiel », explique l’architecte, qui a aménagé un coin de sa salle à manger.
Carine Boxy is a Belgian textile artist and designer based in Deurle. Each of her creations in naturally dyed sheepskin is unique and versatile (rug, cover, tapestry, …) and can be also seen as site specific to a residential or a hospitality project such as the restaurants by Sergio Herman. Her storytelling compositions are conceived as a patchwork quilt or carpet, a wall or oor arrangement, an object, a piece of furniture, with an extraordinary sense of tactility and wellbeing. The sheepskins bring – assembled together – the atmosphere of a wild life into the home. They reveal each one of a kind the true texture, appeal to the senses, thanks to their ultra soft material and a true combination of the hand and the heart. Carine has this attitude of the craftsman that creates from the sheepskin a human kind experience which brings the warmth in interiors.